Edvard Hagerup Grieg(1843~1907)는 19世紀 後期 浪漫主義 時代의 Norway를 代表하는 民族主義 음악가로서 祖國 Norway의 국민음악의 基礎를 確立하여 그 수준을 높이 올려 놓았다. 當代의 사회적 潮流를 이루었던 民族主義는 19世紀 음악에서도 重要한 役割을 하였으며 또한 그것은 古典音樂 이래 그 당시까지 독일음악의 技法을 배운 나라들이 독일 中心主義에서 離脫하여 자기나라의 民族音樂을 硏究하면서 독자적인 국민음악을 樹立하는데 專念하게 되었다. 즉 그들의 言語와 風習을 음악속에 表現하여 자기나라 固有의 個性있는 음악을 작곡하게 되었다.
그런데 이 당시의 Grieg의 出生地인 Norway는 음악적 수준이 낮았을뿐 아니라 固有의 음악이란 民謠와 民俗舞曲들 뿐이였고 音樂文化의 一般的인 現象은 독일음악을 연주하며 이를 감상하는데 지나지 않았다. Grieg는 Leipzig에서 傳統的인 독일음악을 敎育받았으나 그 당시 音樂文化의 潮流였던 民族主義에 影響을 받아 자기 나라 음악을 復興시키려는 努力을 기울이게 되었다. 그러므로 그의 작품에는 民族的이고 民俗的인 要素가 강하게 나타나 있는데 本 論文에서는 이러한 Grieg를 硏究해 보고자 하여 그의 傑作인 피아노 협주곡 A단조의 악곡 분석을 中心으로 Grieg의 音樂的 特徵을 고찰해 보았고, 또한 문헌연구로 Grieg의 時代的 背景인 民族主義 音樂과 Norway 音樂 그리고 그의 生涯와 作品, 音樂的 特徵을 調査하여 보았다.
피아노 협주곡 A단조를 分析해 본 結果, 全體的으로 볼 때 形式의 創意보다는 Norway民俗 素材의 使用과 民族主義 음악가로서의 Grieg음악의 독특한 語法인 리듬, 선율, 화성의 要素를 볼 수 있었고, 形式에서는 古典性이 강하게 나타나는 점이 오히려 特徵으로 나타난 점등 Grieg의 個性이 아름답게 表現된 曲이라는 것을 알 수 있었다. 以上과 같은 硏究를 통하여 그의 뛰어난 音樂性과 民族主義者로서의 Grieg의 音樂世界가 높이 評價되어야 할 것으로 認識되었다.;Edvard Hagerup Grieg (1843-1907) formed the basis of national music of Norway, his fatherland, and raised greatly the musical level of the country as a nationalistic musician. The Nationalism which was the social current of his time, took an important role in the music of the 19th century. In the countries who had. adopted the techniques of German music since the foundation of classicism devoted themselves to establishing their own national music by studying their own national and traditional music. In other words, they composed their own characteristic music, expressing their own language and culture through their music.
But in Norway of the time where Grieg was born, the musical level was very low and all that could be called as national music were only folk songs or music that accompanied folk dances. General practice of their music culture was to preform German music and to appreciate it. Grieg received traditional German music education in Leipzig but he was deeply affected by the nationalism which was the current of the music culture of the time and tried to reinstate music of Norway. Therefore nationalistic and ethnological elements appear very strongly in his works. In this study, the author investigated Grieg's musical characteristics concentrating on the analysis of his famous piano concerto in A minor, and also looked into the Norwegian nationalistic music which was the background of Grieg's music. The author also investigated Grieg's life, his works and musical characteristics through the studies of the documentary records of the time.
The result of the analysis of his piano concerto in A minor is as follows.
Grieg adopted the traditional materials of Norwegian music. There were modifications and variations of rhythms, melodies and harmonies which were the unique idiom of Grieg's masic as a nationalistic musician. Also classicism strongly appears in the form of his music. Grieg's outstanding musical ability and Grieg's world of music as a nationalist must be evaluated highly.